By Chris Burnett
This column for AllAboutJazz.com deals with aspects of being in the jazz music industry from the perspective of a truly independent artist. I'll present a series of articles here for publication on this relatively under appreciated subject.
These writings are somewhat based in a personal context and grounded primarily from my own experiences, lessons learned, and earnestly objective opinions. For this set of "musings", I have chosen to essentially feature several Independent Jazz Artists whom I have been exposed to. This particular feature introduces a great musician whom I have also come to know offline as well. So, this article introduces you all to the work of Mr. Ahmad Alaadeen of Kansas City. (www.alaadeen.com)
OUT OF NOWHERE
It seems that the mainstream jazz music world today is attempting to be more inclusive in the areas of both, gender and race. You still see the same "boxes" allot though - women exclusive, minority exclusive, and white exclusive, and anything imported is great - when it comes to jazz in the USA paradigm. I think that of all of these though, the infatuation with youth is something that jazz (unlike pop music) can sincerely do without.
Many existing propensities still too frequently herald the arrival of so many different "latest, out of nowhere" young musical prodigies that it is sometimes difficult to keep track of them all. I think all of this started again in the 1980s and really has been great for jazz music in reaching a wider audience, along with gaining interest among the next generation of potential musical perpetuators of the craft. The only drawbacks to all of this youth-oriented-hype that I have deduced, is that the terms "gifted and genius" have almost become worn out and commonplace in the context of most uses.
A person fresh out of school may be gifted with prodigious talent. But, now that I have actually lived the musician life for a while too, I think the genius part of things can only really be qualified through having experiences of simultaneously living a responsible adult life. The "genius" in it is developing and perpetuating that gift while also raising a family, being a productive citizen, all while also giving something back to society.
BALANCE AND PERSPECTIVE
So, my only objective concern with this obviously effective marketing and sales approach is that we often leave so much genuine music out of the main mix indeed. I mean, being a jazz musician is a "way of life" as much as it is anything else - whether we are inherently talking necessities about the music business, recordings and distribution, or even marketing and promotion.
Opportunity for a better balance and perspective can also be more inclusive as we see the "young lions" of the 1980s now reaching middle age. It is good to have seen artists like Wynton Marsalis, Bobby Watson, Pat Metheny, and Kevin Mahogany mature professionally and still remain popular while some of the newer artists are also being introduced. Perhaps the global possibilities made available to all musicians via the Internet will also allow artists outside of the New York - Los Angeles media centers more opportunities to reach wider audiences as well.
DESERVING WIDER RECOGNITION
It just also seems that too often it is easy to overlook many already proven jazz musicians like a Mr. Alaadeen, whose gift and genius has come through time after time, year after year after year. However, these are the musicians who actually have been among those who "carried the torch" of jazz music in many ways. Let's keep recognizing these giants among us, regardless of age, sex, or ethnicity.
Granted, I am quick to admit that jazz can still learn a lesson or two from the pop music word about some of the organizational systems, marketing tactics, and business management systems that have been long utilized to promote pop music. However, the fascination with any other attribute other than the quality and validity of the music is not suited very well to jazz.
- All jazz musicians, regardless of age, are "gifted musically" - a mastery of one's instrument is essential to approach even the most basic aspects of the music.
- All jazz musicians are generally of higher than average musical intelligence - in order to improvise one must literally know how to compose music utilizing a given complex harmonic framework.
- A "gifted genius" in jazz is more likely to be a musician who not only has a brilliant talent, but also has a developed sense of life and where their musical gift fits into it - ever learning and exploring new theoriesÃÂÃÂÃÂÃÂ
All of these attributes fit appropriately in attempting to introduce you to 'ASR Records Artist, Alaadeen. I also believe that my position in this regard comes from having lived long enough myself as a musician to appreciate those who maintain excellence throughout careers lasting several decades and even throughout entire long, fruitfully productive musical lives.
THE 21ST CENTURY SOUND OF JAZZ - ALAADEEN
"One of Kansas City's most conscientious musicians, so much so that I call him 'The Master or Prof.' -- A soloist of dynamic force and originality." - JAY MCSHANN
It also just seems that much of the jazz music receiving a great deal of exposure is not much more than a reiteration of what has already been done. Listen to most any top jazz CD and you will find a reference to something already done before. There are countless groups doing "Miles Davis" bands - emulating various stages of his career.
Most smooth jazz saxophonists, no matter how polished, still sound like a version of Grover Washington, Jr.'s contemporary musical explorations to me; most recent guitarists are still doing their best 1980s Pat Metheny - while he has moved on; and most acoustic musicians playing modern jazz are still "chasing 'Trane" harmonically!
However, one of the most significant musicians based in the Kansas City area in the last decade is Ahmad Alaadeen. Alaadeen started to make a stronger international impression in the mid '90s on his own "ASR label.
JAZZ SAXOPHONIST
Primarily known as Alaadeen, the saxophonist was a student of Leo H. Davis, Charlie Parker's teacher. Later he studied at the Kansas City Conservatory of Music, St. Mary's College and Chicago's DePaul University. Alaadeen spent periods of time living in New York, Chicago, Denver, St. Louis and San Francisco, but eventually settled back in his native Kansas City.
Since 1950, he has played his sax with all the music greats, starting with Jazz and Blues legends Billie Holiday, Miles Davis, Jay McShann, Ella Fitzgerald, The Count Basie Orchestra, The Duke Ellington Orchestra, Eddie "Cleanhead" Vinson, right up through Motown stars Gladys Knight, Smokey Robinson, The Temptations and Sam Cooke.
Along the way, he has become a legend in his own right, winning a bevy of awards including "Missouri Artist of the Year", 2000 Governor's Humanities Award, and the Jazz Heritage Award. Recently, he won songwriter competitions sponsored by Billboard for his compositions "Big Six", "Blues for R.C." and "Wayne Himself". In 1996, his ensemble was picked from over 3,000 bands to be Musicians Magazine's Best Unsigned Band.
EDUCATOR and COMPOSER
In addition to performing with his jazz ensemble, Alaadeen continues to work as a significant jazz educator. He epitomizes the term "standard bearer" not only in his playing but also in the teaching and nurturing of emerging artists. Alaadeen also currently is Chairman of the Board of the historic Mutual Musicians Foundation. Visit http://www.alaadeen.com
The next article in this series will introduce you to another independent in the jazz world. Until then, check out Alaadeen's work - also give any independent jazz artist a listen sometime too. There are many of us out here with music worth hearing.
Cb has also made many musical friends online and would love to hear from you
too. Stop by for a free tour, listen to some Cb tunes, and say hello at
http://www.burnettmusic.com.
